Yann Martel’s experimental novel Self (1996) recounts the story of a young man’s gender transformation as he negotiates his national and linguistic identity through cosmopolitan and multilingual affiliations. To convey the tropes of mobility and flexibility, the novel juxtaposes English and several other languages in parallel columns, inviting comparisons across discrete linguistic and literary traditions. Conceptualized from the start as a multilingual novel, Self challenges monolingual ways of classifying national literature and raises questions about plurilingual texts’ placement in literary canons, their implied readers, and their translation into other languages. This article draws on recent debates about transnationalism to read Self as a novel whose formal strategies require a mode of reading predicated on comparison and translation. Readers are encouraged to simultaneously conceive of distinct languages relationally and uncover the hegemonic relationship between global and local languages in Canada and internationally. Through its formal aesthetics, which underscores both the opportunities and limits of multilingualism, Martel’s polyglot novel contributes valuable insights to current discussions of transnational literature.